Month: February 2018

This is what I thought the first time I heard Hampshire & Foat: oh my god these guys, oh my god I need more.

That was just a couple weeks ago. I’d stumbled upon their 2017 debut Galaxies Like Grains of Sand by chance, hearing the opening track and instantly feeling the need to hear everything they’d made. Lucky for me, they were just about to release their followup, The Honeybear.

Like this:

Do you ever hear a piece of music that feels like it was made exactly for you at exactly the time and place you’re hearing it? Music that just fits, wraps around you, slips into your mind like the first blush of sun coming in the window? Music so effortlessly enjoyable that its radical warmth goes unquestioned? I’m not talking simply love-at-first-listens; it’s a different thing. I mean music that feel as natural as breathing.

Music For Nine Post Cards does exactly that. Hiroshi Yoshimura may have recorded this album in 1982, but it slipped into my winter 2018 sound world without notice and quickly became the contemplative little heart at the center of the new year’s listening.

Like this:

Dedekind Cut, one of the most exciting experimental composers working today, has released his most accomplished set yet, an industrial ambient juggernaut that folds all his prior rough edges into an interstellar discovery vehicle. Tahoe is music for travelling beyond, informed by a deeply honest sense of what it’s like to be alive right now in this weird world.